This article is an excerpt from the master's research approved by the State University of Rio de Janeiro (UERJ), in 2017, under the title “Digital educational games and the teaching of mathematics: different perspectives and experiences”. In this work, in order to analyze the teacher's perception about the use of digitalgames in the teaching and learning process of Mathematics, a semi-structured interview was conducted with teachers belonging to three schools in Rio de Janeiro who joined the Sesi Matemática Program, whose methodology uses digitalgames aimed at teaching the discipline. The mathematics teachers interviewed related the development of various skills of their students from the use of educational digitalgames. According to the teachers, the games were able to contribute to help students with some learning deficit. Therefore, this article proposes to present professors' statements in order to reflect on these results.
Despite distancing us from the narratologists, this analytical option does not bring us close to the current traditionally opposed to this line of thought, that of ludologists — because they choose only the literal application of the game concept and would refuse the application of the text metaphor. In addition, those using the text as a concept also do it in a more literal manner than we: when Aarseth claims to understand the cyber- reader as someone “more integrated” in the text than the traditional reader, he in fact only admits a greater appreciation of the physical interactions possible to the first — to explore, to get lost, to discover secret paths — over the mental performance of the sec- ond, who carries out such “actions” only metaphorically. Aarseth would probably criticize our lack of formal precision and see a sort of theoretical imperialism in our adherence to theories that were not originally formulated with the differences introduced by digital media in mind, but his descriptive approach of the mechanical organization of the text, by treating it as an object rather than as an event or experience, would be seen in the light of Iser and Dewey’s formulations as unable to explain how the production of meaning and aesthetic effects take place.
All the methods reviewed above were inferred-measurement approaches, where the player information was inferred from player actions. From this review, there is little to no work done on video game narrative’s adaptation using direct-measurement approaches to collect psycholog- ical or behavioral data, without the use of bio-sensors. There are, however, works where direct- measurement is applied, albeit not being in the video game field. The work of Peng et al. [Peng et al., 2018] adapts an animation to the viewer and is worth mentioning, since it uses direct- measurement approaches to adapt the narrative to the emotions and mood of the player, with the intuit of creating personalized emotional narratives that induce self-reflection. Also, animation is one of the core components of video games and some of its rules and fundamentals are inter- changeable. The way the authors of the paper adapted the narrative of the animation was by col- lecting mood and behavior data for one week for each user. The collected data is directly mapped into character animations and perceived emotions, lighting, environment colors and overall mood. It also affects the order of the story events and the ending of the story. The results showed high engagement and self-reflection behaviours by most viewers, which are also the desired results of this thesis. The kind of data gathered from the users and the way it was shown in the animation can be of use to this thesis main objective. But, since this was done in the non-interactive narrative field, it might be harder to apply the same direct mapping technique between player’s mood and narrative elements in an interactive narrative, due to the unpredictability that naturally arises from user interaction. The users still have to feel that they have freedom to explore by themselves, or else it will feel more like a movie than a game.
However, the different interface formats of the same game were compared in this study, qualified stimuli should be popular games, and could provide physical and digital versions at the same time. Limited to this criteria, the new and innovative games released in recent years were excluded; stimuli selection might affect results. Recent literature suggested that the advantages of digitalgames are innovative interaction and intuitive operation. 20,21 Some popular games, uti- lizing these benefits (e.g. intuitive gesture operation with multi-touch panel), deserve further investigations. Designing a new game should take full advantages of its distinguishing attributes of interface formats. These conclusions are hoped to provide useful design guide- lines to designers and inspire them to utilize knowledge of users’ emotional reactions to design innovative inter- faces for new games.
This article aims to present the productivity of the assumptions of Philosophical Hermeneutics (Gadamer, 1996) and his discovery of the logical, ontological and structural model of the game that takes place during the experience that is the basis of comprehension. Thus, digitalgames are proposed as manners, methods and ways to improve the understanding, interpretation and application of the concepts of Sustainability and Environmental Principles. The attraction of the game as a pedagogic space lays in the fact that it takes over and allows the player to internalize ecological sensitivity, something that happens during the play. Finally, the results show an augment on students’ motivation, when using the game versus the traditional process.
Digitalgames are a commercial product developed and distributed by media companies and often uses characters or scenarios of movies, books, and comics. The digital game play comes from individual media consumption patterns. Playing digitalgames also offer experience and satisfaction based on interactive communication technologies and immersive gameplay. In this digital age, digitalgames became more social- based, which means they implement the need to invite friends on social media to come into play and help each other in the game. The problems of this study was to determine what factors make Hay Day popular among the players and to find out how Hay Day changing the social patterns interaction of the players. This study aims to look at the functions of digitalgames in the context of communication with relations in social media and why certain games can achieve very high popularity, while other games failed miserably. This research focuses on Hay Day. The method used is descriptive qualitative approach with case study method. Data collection is using interviews with players active in the game, as well as observation and literature studies. The results showed that a game may gain popularity if someone has a social media environment prior to play. Interactive concept, simulation, and fantasy game technology are also the reason Hay Day became very popular. The perception that the digital game player who formerly regarded as anti-social experience has shifted in the concept of digital game-based social bookmark. Players who have a lot of friends in games are seen as someone who has a lot of friends and a high social level. This is in line with the functions of a traditional game in Indonesian culture, where the region has a wide variety of games to be played together and motivate positive social interaction. Function of digitalgames also increased, other than playing the game as entertainment, but also now the game became one of the effective tools to convey the message to the public.
Toda e qualquer forma expressiva tem inúmeros caminhos e descaminhos, mas o game, por sua natureza participativa, parece ter ainda mais alguns. Mesmo quando encaramos um universo mais restrito de games, é possível analisá-lo sob diversos enfoques. Como afirma Espen Aarseth, um dos pioneiros nos estudos dos games: “to simply talk about ‘games, or even ‘digitalgames’, seems irresponsible: there are large and widening differences between game genres, gaming situations and game technologies” (Aarseth, 2004). Assim, há enfoques voltados à parte técnica, de programação e game design; há os que estudam o impacto dos games na sociedade, nas crianças, nos adolescentes, na educação, na violência, nas fobias, na cognição; há os que estudam a ontologia do game... A lista vai longe, e lançar um olhar a todas essas formas ao mesmo tempo seria, além de impossível, impróprio. Cada uma dessas manifestações carrega em si características particulares que, muitas vezes, se negam mutuamente e que devem ser analisadas com vagar para que se possa sobre elas dizer algo minimamente pertinente. A maioria delas traz algo tão incrivelmente novo que estamos apenas começando a tatear nosso caminho até elas – até porque, no momento mesmo em que escrevo estas linhas, nascem novos jogos, novas práticas, novas tecnologias.
Note that the first statement speaks about both players while the second one only speaks about Player 0. This is due to the fact that the safety game keeps track of Player 1’s scores only, which al- lows Player 0 to prove that she can prevent him from reaching a score of 3. But as soon as a score of 3 is reached, the play is stopped. To obtain a winning strategy for Player 1, we have to swap the roles of the players and construct a safety game which keeps track of the scores of Player 0. Alternatively, we could construct the arena which keeps track of both player’s scores. However, that would require to define two safety games in this arena: one in which Player 0 has to avoid a score of 3 for Player 1 and vice versa. This arena is larger than the ones in which only the scores of one player are tracked (but still smaller than (|V |!) 3 ). It is well-known that it is impossible to reduce a Muller game to a single safety game and
Não podemos mais conviver sem as TIC, o mundo virtual é necessário ao nosso cotidiano, a vida moderna delas depende, e o domínio sobre elas é urgente. A geração digital, do instantâneo, do agora, do on-line é que comanda a sociedade atual. Não estar em consonância com o uso das TIC, determina o excluído do século XXI. Nesse contexto, presenciamos a mobilização em torno da inclusão digital dos cidadãos, para que possam fazer parte do mundo virtual. Governos, instituições, ONGs, projetos, ações, sociedade – todos buscam caminhos que levem à inclusão digital.
Table 1 shows the number of classroom materials -- Courses, collections of stand-alone Lessons, Enrichment materials, and Readers -- for each of the eleven languages. Our Course category covers any complete course, whether it is distributed on CD-ROM or directly on the Web. The first phase of the survey located beginner courses for most of the languages under consideration, with more advanced courses for Chinese, Russian and Turkish. We found no complete courses for Arabic, Dari, Hindi, or Urdu. (Among LCTLs outside of the eleven languages, we found digital first-year courses in Aymara, Burmese, Hausa, Hebrew, Khmer, Kurdish, Macedonian, Nepali, Wolof, and Yoruba, as well as 3-year courses for Kazakh and Ukrainian.)
– entretanto, em alguns círculos e situações, ela parece longe de ter sido resolvida. Para muitos seguidores da corrente ludológica, abordar os games tendo como ponto de partida um conceito nascido na literatura e segundo um roteiro constituído por meios narrativos e audiovisuais continua sendo uma heresia. E de fato o seria, caso a pretensão deste texto fosse meramente forçar um encaixe dos games em teorias externas a eles. A proposta, entretanto, não é esta, mas estudar os games como um novo tipo de produto midiático, cuja complexidade é equivalente a dos meios anteriores – que, por sua vez, são muito mais do que meras “tecnologias para contar estórias”, como queria Aarseth (2004, p. 45). Um pressuposto fundamental deste texto é, portanto, que os games são produtos midiáticos e, como as poesias e os romances, os documentários e os filmes, os programas de entrevista e as novelas, têm muitos formatos, gêneros e funções – entre elas, também a de contar estórias. É igualmente relevante assinalar que a escolha de uma específica sucessão de formas expressivas para encaminhar a discussão não reflete crença na existência de uma continuidade – ou, menos ainda, de uma evolução – na história das mídias. O conjunto escolhido é resultado da revisão de literatura, e corresponde às mídias para as quais a ideia de suspensão de descrença foi aplicada com maior frequência. A literatura, o teatro, o cinema, a televisão e os games coexistem e se influenciam mutuamente e, sendo assim, o que sabemos sobre cada um deles pode ajudar a compreender os demais.
In this technological avalanche of madness, there was one unsuspecting intervenient. With the booming internet phenomenon in Korea, a new form of entertainment appeared: online gaming. The major culprit: PC Bangs. This form of internet café first appeared in South Korea during the construction of the broadband network in the late 90’s. Its cheap prices and favourable conditions for hard-working Koreans who sought relaxing moments after work made them extremely popular even during a time of intense recession. After the crisis, both PC Bangs, broadband internet and games were well established, and not only online games, but all games in general were becoming increasingly popular among the younger generation. But one game would come to take over the scene in an unforeseen fashion, and put South Korea not only in the map of online gaming, but straight to the lead. Released in 1998, Starcraft 10 was Blizzard Entertainment’s take on a sci-fi
The species Tapirus terrestris , known as Brazilian tapir , is a mammal of the Perissodactyla order, the only which occurs with an endemic form in Brazil and is considered the one of the largest Brazilian mammals . There are few studies related to the tapir morphology , so to provide more anatomical data about this species, the present study aimed to describe the bones and muscles of the leg and foot in Tapirus terrestris . We used four specimens of T. terrestris (Linnaeus , 1978), fixed in formaldehyde 10% . For osteological description the anatomical specimens were radiographed and the bones macerated, cleaned, dried , identified and described . To muscular description , the muscles were dissected according to the usual techniques in gross anatomy , identified and described . The skeleton of Tapirus terrestris leg consists in tibia and fibula bones, the foot consists of three parts, they are the tarsus , metatarsus and phalanges. The muscles that form the leg and foot are the gastrocnemius, soleus, superficial digital flexor, digital flexor, cranial tibial, fibular third, long digital extensor, lateral digital extensor, popliteal, interosseous and lumbricais. The leg and foot of Tapirus terrestris have osteological and muscular characteristics similar to equines, however, some morfological differences are evident .
From a narratological perspective, this paper aims to address the theoretical issues concerning the functioning of the so called «narrative bifurcation» in data presentation and information retrieval. Its use in cyberspace calls for a reassessment as a storytelling device. Films have shown its fundamental role for the creation of suspense. Interactive fiction and games have unveiled the possibility of plots with multiple choices, giving continuity to cinema split-screen experiences. Using practical examples, this paper will show how this storytelling tool returns to its primitive form and ends up by conditioning cloud computing interface design.
Seiring dengan meningkatnya jumlah kasus korupsi, peranan komunikasi visual juga semakin diperlukan. Peranan komunikasi visual sebagai pembuat media komunikasi yang menarik, mengimbau, dan interaktif. Sehingga budaya anti korupsi yang ingin ditanamkan dapat diterima dengan baik dan tertanam di kesadaran berperilaku dari penerima pesan. Artikel menjelaskan peranan komunikasi visual “Gooclean” yang ditujukan untuk anak-anak dan dikemas dalam sebuah games berbasis web yang menarik minat bermain sambil belajar. Metode penelitian dalam membuat pembahasan jurnal ini yaitu metode studi pustaka guna mendapatkan landasan teori, metode observasi studi banding dengan website anti korupsi lainnya, serta metode wawancara terhadap PIC proyek. Lingkup web games interaktif Gooclean sendiri dikemas semenarik mungkin guna merangsang dan meningkatkan minat anak terhadap materi yang disajikan. Hal ini diwujudkan dengan berbagai ilustrasi menarik, pola permainan yang menantang, dan gaya visual yang mudah dicerna anak-anak pada umumnya.
In InStory  users discover Quinta da Regaleira. Quinta da Regaleira is a beautiful architectural complex, classified as World Heritage, that includes a twentieth century palace and a garden for initiation rites with labyrinthine gal- leries and subterranean grottoes. Quinta da Regaleira is connected with strong alchemical and sacred connotations. Users visit this mystical place with the help of a mobile device that provides them geo-referenced activities. The mobile de- vice offers specific information about the place the user is visiting as well as sto- ries and games . Players interact with several virtual characters, who func- tion as narrators, such as a Hunter, an Amazon, a White Lady, an EcoVegan an- imal protecting figure and a Greyhound. To gain points and advance levels players solve puzzles and enigmas where they have to retrieve in-situ infor- mation at the geographical location they are currently at . Players can also upload photographs, videos, sound clips and texts to create their own personal- ized activities . As InStory is a flexible platform, that supports mobile story- telling, gaming activities and information access , it can be adapted to the exploration of other cultural or historical spaces. The system provides two ap- plications, InAuthor and InContent. InAuthor is a game editor for the creation of geo-referenced storytelling and gaming activities, which are represented as nodes. InContent allows the design of screen areas that function as content for the nodes .
many minutes of very unbalanced games would be “garbage time”, and game-related statistics from those minutes have little value for analysis. A three-way (sex × age × game result) analysis of variance (ANOVA) was performed to assess differ- ences and interactions in each variable. A discriminant analysis was performed using R code ‘candis’ (http://aoki2.si.gunma-u. ac.jp/R/src/candis.R) and ‘geneig’ (http://aoki2.si.gunma-u. ac.jp/R/src/geneig.R) to identify game-related statistics which discriminate winners from losers in each game type. An absolute value of a structural coeficient (SC) equal to or above 0.30 was considered relevant for the discrimination 7,11,16 . Statistical
The question; “what are the science teacher candidates’ oppinions regarding science gam es and their sufficiencies to prepare science games” motivated the present study. The study was performed with third-grade teacher candidates who were enrolled in the Science Teaching Department of a university in Istanbul. Teacher candidates' views on games, was determined by using data obtained from open-ended questions and rubric. Data of teacher candidates feeling about how sufficient they are on preparing science games obtained from the open-ended questions and rubric. In order to determine teacher ca ndidates’ sufficiency on preparing science games data were analyzed by researchers using rubric. The research findings were analyzed by using qualitative and quantitative analysis methods. It was seen that the teacher candidates have positive feelings about the use of the games in science teaching. The science teacher candidates think the game design process is difficult and they have some miles to drive to be more competent in designing games.